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Flute,Piano - Level 2 - Digital Download SKU: A0.1158027 By Bella Poarch. By Alina Paulsen, Bella Poarch, Blvsh, Danny Maisonneuve, Denarie B Poarch, Elie Rizk, Geoffrey Hufford, Graydon Fritzsching, Joshua Linne, Miranda Glory, Natania Lalwani, Nikolay Mohr, Stefan Max, Stefan Max Kornwebel, and Stefan Maxim. Arranged by Samuel Sequeira. Pop,Singer/Songwriter. Score and part. 11 pages. Samuel Sequeira #758324. Published by Samuel Sequeira (A0.1158027). Dolls - Bella Poarchs - ScorePlay it at home, with friends, on class, for your teacher or student Play it on a public presentation. More arrangements on the link: Sam'S arrangementsFor Flute and Piano with chords. Tonality: DmContact the Arranger:Youtube: @SamuelseqInstagram: @SamuelseqEmail: samyseq@gmail.com
Dolls
Flûte traversière et Piano
Bella Poarch
$4.99 4.25 € Flûte traversière et Piano PDF SheetMusicPlus

Flute,Piano - Level 2 - Digital Download SKU: A0.1158021 By Bella Poarch. By Alina Paulsen, Bella Poarch, Blvsh, Danny Maisonneuve, Denarie B Poarch, Elie Rizk, Geoffrey Hufford, Graydon Fritzsching, Joshua Linne, Miranda Glory, Natania Lalwani, Nikolay Mohr, Stefan Max, Stefan Max Kornwebel, and Stefan Maxim. Arranged by Samuel Sequeira. Pop,Singer/Songwriter. Score and part. 10 pages. Samuel Sequeira #758317. Published by Samuel Sequeira (A0.1158021). Dolls - Bella Poarchs - ScorePlay it at home, with friends, on class, for your teacher or student Play it on a public presentation. More arrangements on the link: Sam'S arrangementsFor Flute and Piano. Tonality: Em (original)Contact the Arranger:Youtube: @SamuelseqInstagram: @SamuelseqEmail: samyseq@gmail.com
Dolls
Flûte traversière et Piano
Bella Poarch
$4.99 4.25 € Flûte traversière et Piano PDF SheetMusicPlus

Flute,Piano - Level 2 - Digital Download SKU: A0.1158015 By Bella Poarch. By Alina Paulsen, Bella Poarch, Blvsh, Danny Maisonneuve, Denarie B Poarch, Elie Rizk, Geoffrey Hufford, Graydon Fritzsching, Joshua Linne, Miranda Glory, Natania Lalwani, Nikolay Mohr, Stefan Max, Stefan Max Kornwebel, and Stefan Maxim. Arranged by Samuel Sequeira. Pop,Singer/Songwriter. Score and part. 11 pages. Samuel Sequeira #758311. Published by Samuel Sequeira (A0.1158015). Dolls - Bella Poarchs - ScorePlay it at home, with friends, on class, for your teacher or student Play it on a public presentation. More arrangements on the link: Sam'S arrangementsFor Flute and Piano with chords. Tonality: Em (original)Contact the Arranger:Youtube: @SamuelseqInstagram: @SamuelseqEmail: samyseq@gmail.com
Dolls
Flûte traversière et Piano
Bella Poarch
$4.99 4.25 € Flûte traversière et Piano PDF SheetMusicPlus

Flute,Piano - Level 1 - Digital Download SKU: A0.548707 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411715. Published by jmsgu3 (A0.548707). Out of the Depths I Cry to You by Martin Luther arranged for alto flute & piano. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms.Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
Luther: Out of the Depths for Alto Flute & Piano
Flûte traversière et Piano

$24.95 21.27 € Flûte traversière et Piano PDF SheetMusicPlus

Small Ensemble Cello,Clarinet,Flute,Piano - Level 4 - Digital Download SKU: A0.755010 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 42 pages. Sy Brandon #3239673. Published by Sy Brandon (A0.755010). In The Land of Wonder-Wander attempts to capture the essence of both Maxfield Parrish’s illustration and Eugene Fields’ poem The Dinkey-Bird. Both the painting and the poem create the feeling of a magical place where beauty, joy and pleasure abound. It is a mysterious place, perhaps as occurring in a dream, yet a place where one does not wish to leave. In The Land of Wonder-Wander begins quietly with vague tonality and sparse instrumentation as it transports the listener into this mystical land. As the tempo becomes stricter and the instrumentation fuller, the beauty of this place is apparent. A change to a triple meter and a faster tempo creates a joyous and wondrous section as there are many sweet treats growing to satisfy the soul. Children scampering and playing are represented by an allegro section with playful melodies and slight dissonance. The Dinkey Bird becomes the focus of the next section, which uses a staccato motif surrounded by rapid scales and arpeggios. These ideas build in intensity, expressing the wonder and beauty of this far away land, until they begin to fade away as the land recedes into the sea. A last flourish occurs as if one is trying to hold on to the experience before one wakes up from this marvelous dream. This work is recorded by Laura Koepele-Tenges, Christie Vohs, Megan Lauterbach, and John Elmquist on the Emeritus label.
In the Land of Wonder-Wander for Flute, Clarinet, Cello, and Piano
Flûte traversière et Piano

$9.99 8.52 € Flûte traversière et Piano PDF SheetMusicPlus

Instrumental Duet Flute,Instrumental Duet,Piano - Level 5 - Digital Download SKU: A0.1021619 Composed by Tyler J. Holt. Concert,Contemporary,Standards. Score and parts. 43 pages. TJHoltMusic #6134009. Published by TJHoltMusic (A0.1021619). Sonata for Flute and Piano, Op. 12 was written for and is dedicated to my friend, Natalie Smith. This sonata conveys different moods using various styles in each of the movements, all of which take some liberty and, at times, are vague with form.The first movement, inspired by Claude Debussy, uses a quasi mirror form, with the two motives connecting with a sudden yet seamless tempo change, which is supported by the driving rhythm in the piano, and a development in the middle of the movement.The second movement is a funeral march and is based on the chord progression built around the sustained B natural in the flute, which conveys a dreamlike atmosphere. As the progression transforms, there is an increasing sense of dread that unfolds until this feeling becomes primal before collapsing in on itself at the climax of the movement. From there, the progression returns more actively with, although not as strong as before, a sense of dread still present for the remainder of the movement. The movement is in ternary form (ABA), with a development in the first A section.The third movement is a more clearly defined rondo form and is based on themes that undergo subtle changes each time they return. Other themes include a recurring call and response between the treble and bass lines in the piano, which the flute participates in this exchange when it is presented again later, a reference to the second movement's progression, and a modal theme that floats in terms of harmonic and melodic structure. When the initial theme returns for the final time, a coda restates previous ideas as the finale gradually increases its tempo and concludes the piece. This movement is the most technically challenging, especially considering that I asked Natalie how fast she can double tongue. In general, there are a fair amount of high passages and big leaps. This was written with Natalie's skill set in mind.I. Moderato con gioiaII. Lamento sostenutoIII. ScherzoComposed by Tyler J. HoltPublished by TJHoltMusicCopyright © Tyler J. Holt, Composer.
Sonata for Flute and Piano, Op. 12
Flûte traversière et Piano

$20.00 17.05 € Flûte traversière et Piano PDF SheetMusicPlus

Fl. pft. - Intermediate-Advanced - Digital Download SKU: F2.FM617 Composed by Richard Lambert. A set of pieces for flute and piano. Score and part. 37 pages. Forton Music - Digital #FM617. Published by Forton Music - Digital (F2.FM617). ISBN 9790570485161.Abigail's Jig, op. 10 no. 2a, This lively piece for flute and piano was composed in 1980 to celebrate the birth of Abby, the composer's daughter. The piece attempts to capture the atmosphere of an Irish jig as played by a piper, with a harmonically straightforward piano part, which uses a mixture of 'vamping' and melodic imitation of the flute part. The introduction is intended to be humorous and rather musically misleading, openly parodying the 'cowboy' music of Aaron Copland. Modal harmony helps to create the mood of pseudo-folk music. Cantilena, Op. 11b, Cantilena tries to capture a popular flavour, borrowing freely from pop and jazz styles: primary and secondary chords are used in arpeggiated piano figures, as mainstream ballads might do; pedal notes are a feature, especially on the tonic note; and a 'bluesy' style emerges in the third main theme. A pseudo-rock style is twice used in the climax section, which acts as a song-like chorus. Cantilena is in the key of D major overall, but even the introduction uses 'wrong note' harmony (notably flattened sevenths) to produce ambiguous tonality. The piece demonstrates a range of tone colour for the flute across a wide melodic range. Written originally for alto sax in 1987, the piece was arranged for flute in 1994. Five Short Pieces, Op. 9a, This set of movements for flute and piano was originally arranged in 1985, and revised in 2008. The five pieces are elaborate transcriptions of To One, five songs to poems by Christina Rees, which convey the countless moods associated with a relationship.
Cameos
Flûte traversière et Piano

$14.95 12.75 € Flûte traversière et Piano PDF SheetMusicPlus


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